By admin 
HangupsMusic.com – The trajectory of Jon Davison’s life, a vibrant tapestry woven with threads of destiny and musical passion, might have been dramatically different had it not been for a mere three blocks separating his childhood home from that of Taylor Hawkins in Laguna Beach, California. This geographic proximity blossomed into an unbreakable bond, forged in the crucible of grade school friendship and a shared, insatiable appetite for rock music. Together, they delved into the sonic landscapes of titans like Rush and Queen, each finding their calling – Hawkins gravitating to the drums with an infectious energy, Davison to the intricate melodies of the guitar. Their formative musical journey culminated in a pivotal moment when Hawkins’ mother ushered them into the grandeur of The Forum for David Bowie’s "Serious Moonlight" tour, an experience that undoubtedly ignited a lifelong pursuit of musical excellence.
Davison’s path, however, took a momentous turn in 2012. The legendary progressive rock band Yes was in search of a new vocalist, and it was Hawkins, ever the loyal advocate, who unequivocally vouched for his lifelong friend to bassist Chris Squire. Hawkins’ confidence was not misplaced. Davison possessed a natural tenor voice, uncannily reminiscent of a young Jon Anderson, Yes’s iconic original frontman. His experience fronting the Yes tribute band Roundabout, coupled with his stints in the acclaimed progressive outfits Glass Hammer and Sky Cries Mary, had meticulously prepared him for the demanding rigures of touring and performance. He was, without question, the man for the job.
For the past fourteen years, Yes has remained the central pillar of Davison’s professional life. His distinctive voice has graced their last three studio albums – 2014’s Heaven & Earth, 2021’s The Quest, and 2023’s Mirror to the Sky – and he has traversed continents, performing the band’s intricate catalog to devoted audiences worldwide. A significant milestone awaits him on April 22nd, as he embarks on the European leg of their global tour, a journey that promises a complete rendition of the band’s 1971 masterpiece, Fragile, alongside a curated selection of other beloved tracks spanning Yes’s illustrious career.
Beyond his immersion in Yes, Davison’s life has been enriched by a serendipitous encounter on the high seas. In 2019, aboard the prog-rock themed "Cruise to the Edge," he met Emily Lodge, daughter of The Moody Blues’ co-lead singer, John Lodge. Their connection was immediate and profound, leading to their marriage three years later. This union not only brought personal joy but also opened another unexpected musical chapter. Davison soon found himself touring as a vital member of John Lodge’s solo band, taking on lead vocal duties for songs originally sung by Justin Hayward, including the timeless classic “Nights in White Satin.”
This unique arrangement placed Davison in the extraordinary position of simultaneously upholding the musical legacies of two cornerstone progressive rock acts: Yes and The Moody Blues. This dual role continued until the untimely passing of John Lodge last year, an event that occurred while Yes was in the midst of a North American tour. Davison recalls the emotional challenge of performing in the immediate aftermath of Lodge’s death. “The first half of the set is really quite mellow with emotional songs like ‘Onward,’ ‘Wondrous Stories,’ and ‘Circles of Time,’” Davison shared with Rolling Stone. “‘Soon’ is a spiritual hymn. I was thinking, ‘I’ve got to go out on stage and sing without just breaking down crying.’ And I knew that he would say, ‘You’ve got to go out there and do it. You’ve got to celebrate the music, put a smile on your face and don’t be gloomy.’ He’d want me to celebrate the music, and so he somehow gave me strength.”
Davison’s resilience has been tested repeatedly. He navigated the profound grief following the death of his lifelong friend Taylor Hawkins in 2022, faced the occasional resistance from a segment of Yes fans unwilling to accept anyone but Jon Anderson as frontman, endured the awkward period of two competing Yes iterations converging at the Rock & Roll Hall of Fame induction, and consistently confronts the immense vocal demands inherent in performing the Yes catalog night after night. In a recent Zoom conversation from his home in Surrey, England, Davison offered an intimate glimpse into his remarkable and often improbable life story.
Reflecting on his early days, Davison fondly remembers the musical encouragement shared with Taylor Hawkins. Hawkins’ older brother, with his cooler sensibilities, introduced them to a wealth of rock records. Though a year younger, Taylor often seemed a step ahead. “I remember the first thing was he said, ‘My neighbor’s got a drum set he’s going to sell me, and I’ve been listening to Queen. And Queen is the most amazing band,’” Davison recounted. Hawkins was particularly drawn to Queen’s drummer, Roger Taylor, admiring his expressive style and songwriting contributions. He even believed he resembled a young Roger Taylor, a notion bolstered by his thick, white, swept-back hair – small details that resonated deeply with a young aspiring musician. While Hawkins envisioned Davison as Freddie Mercury, Davison found his voice through the guitar, and later bass, as their tastes evolved towards the complex arrangements of progressive rock. Bands like Rush, Yes, and Genesis eventually captivated them, with Rush’s immediate impact initially appealing to their younger minds.
Their shared musical exploration also included frequenting early Jane’s Addiction shows. Davison described their raw, psychedelic energy that transcended genres, uniting diverse audiences from hair metal enthusiasts to goths and Deadheads. Hawkins, in particular, fulfilled many of his childhood rock fantasies. He performed with Queen, jammed with Rush, and even sang Led Zeppelin classics alongside Jimmy Page and John Paul Jones at Wembley Stadium. Davison observed that Hawkins, like Dave Grohl, possessed a childlike enthusiasm for their heroes, a humility that impressed other musicians and opened doors to collaborations with the very artists they idolized.
Davison’s own journey to lead vocals was a gradual revelation. He had always contributed background harmonies but never fully developed his voice until later in life. A lull in his career after moving from Seattle in the early 2000s, post-Sky Cries Mary, prompted a period of introspection. “It’s really depressing that I’m not doing any music. I can sit at home and play, but I want to be out. I want to be in a band,” he recalled. Taylor Hawkins suggested joining a cover band to maintain his skills. It was then, sifting through local ads, that Davison discovered a Yes cover band. By this point, Yes had become his ultimate favorite, surpassing Rush. The only catch: they needed a vocalist, not a bassist. Desperate yet confident in his high vocal range, he auditioned. “They were really pleased with my abilities. Everybody realized that I could do it. I got a lot of support. And that was the beginning. It wasn’t that long ago, 2005. I was just about 37.”
His tenure with Roundabout, the Yes tribute band, lasted only two or three years, with a handful of local gigs annually, serving primarily as a hobby. The real breakthrough came when Glass Hammer, an original progressive band, discovered Roundabout’s online demos. They sought a Jon Anderson-esque singer, and Davison fit the bill. He initially hadn’t heard of Glass Hammer but was captivated by their track “Long and Long Ago.” This experience allowed him to apply his creativity to original material and introduced him to the world of studio work, a crucial step in his development.
The call from Yes arrived in a whirlwind. Their manager, Paul Silveira, was aware of Glass Hammer, while Taylor Hawkins had been consistently championing Davison to Chris Squire. When Yes’s then-vocalist Benoît David fell ill, Hawkins seized the moment, urging Squire to call Davison directly. “They came at me from all angles,” Davison remembered, describing the surreal absence of an audition. With a major tour imminent in Australia, New Zealand, Indonesia, and Japan in just two and a half months, he had to jump in immediately. His first phone call with Chris Squire was marked by respect and a genuine concern for Davison’s ability to commit to a full-time, life-altering role. Overwhelmed and “hovering off the ground,” Davison felt Taylor’s immense pride.
The first rehearsal at MATES in L.A. saw Taylor Hawkins in attendance, already a friend of Chris Squire. Davison’s deep knowledge of Yes’s catalog, gleaned from years as a devoted fan, proved invaluable, breaking the ice and impressing the band with his enthusiasm. His debut performance in Auckland, New Zealand, in April 2012, was monumental, marking Yes’s first-ever show in the country. From his vantage point on Alan White’s drum riser during Steve Howe’s solo, Davison recalls a moment of profound realization: “Oh my God, is this real?”
He quickly forged strong connections with the band members. Alan White, the legendary drummer, was described as a genuine, down-to-earth individual. Despite their instrumental differences, Davison found a unique rapport with White, who had lived on the West Coast, creating a dynamic similar to "bookends" in the band’s sound. Chris Squire, a towering figure in progressive rock, immediately invited Davison to his home to begin songwriting for new material, keen to harness his creative input. Davison fondly remembered telling Squire, “Chris, you’re like the Jimi Hendrix of the bass guitar,” a compliment that brought a broad smile to Squire’s face. Squire, who prided himself on his distinct, melodic bass lines, cited John Entwistle and even Paul McCartney as key influences, noting McCartney’s practice of tracking bass separately to infuse it with unique expression.
The touring schedule was relentless: 41 shows in 2012, 67 in 2013, and 89 in 2014. Benoît David had previously cited the intense schedule as detrimental to his voice, but Davison, endowed with a natural vocal ability, found himself better equipped. “I didn’t feel like I was straining,” he explained, identifying this as the key difference. While he acknowledged the challenge of parts like the “sharp… distance” section in “Heart of the Sunrise,” his control allowed him to endure. With Davison’s arrival, Yes gained a renewed confidence, embarking on ambitious tours performing entire albums like Close to the Edge and Going for the One, and finally tackling Drama songs that Jon Anderson had historically avoided. However, Steve Howe’s leadership later saw the omission of “Owner of a Lonely Heart” from their setlist in 2016.
The recording of Heaven & Earth, Davison’s first album with Yes, proved to be a disheartening experience. High expectations were dashed by an unfocused production under the late Roy Thomas Baker, who was grappling with personal difficulties. Davison felt the album consisted largely of “polished demos,” leading to fan disappointment. Despite this, he still sees potential in tracks like “Believe Again,” albeit "not fully realized."
Tragedy struck in late 2014 when Chris Squire fell ill. Davison had no inkling during their Japan tour, where Squire seemed in top form. The news of his serious condition came abruptly, followed swiftly by his passing. Billy Sherwood gracefully stepped into Squire’s monumental shoes, a role Davison believes he handled with immense dignity and instinct, carrying forward the spirit and style of his close friend.
The 2017 Rock & Roll Hall of Fame induction ceremony presented a peculiar scenario, with Jon Anderson fronting his own version of Yes alongside Rick Wakeman and Trevor Rabin. Davison attended as an admirer, thrilled for the band’s recognition, and even attempted to introduce himself to Anderson at the after-party, but the loud music meant Anderson mistook him for just another fan.
Alan White’s final years were a testament to his dedication. Despite struggling physically, he continued to tour, driven by muscle memory and a profound connection to his craft. “What am I going to do? Sit at home and learn to knit?” White quipped, embodying the spirit of a musician for whom performing was simply life.
The COVID-19 pandemic, while challenging, became an unexpected catalyst for creativity. Davison found himself in Barbados with Emily Lodge when the world shut down. Stranded for over three months, he used the isolation to intensely focus on songwriting. Exchanging files with the band, he crafted melodies, lyrics, and arrangements, many of which became the vocal tracks for The Quest. This experience solidified his commitment to always travel with a portable recording setup. The momentum continued, and Mirror to the Sky followed just two years later, a testament to the band’s renewed enjoyment of the creative process under Steve Howe’s unobstructed production. Davison’s own composition, “Circles of Time,” from that album, has become a powerful live moment, a “rush” to perform his own song under the spotlight.
His meeting with Emily Lodge on the "Cruise to the Edge" highlights the pervasive influence of progressive rock in his life, shaping not only his career but also his personal relationships. While initially unfamiliar with The Moody Blues’ extensive catalog, he immersed himself in their music after meeting Emily and John, becoming a genuine admirer. Their musical connection deepened on the Royal Affair Tour in 2019, with Davison joining John Lodge for an encore of “Ride My See-Saw,” and Yes reciprocating with “Imagine.” During Yes’s COVID hiatus, Davison toured extensively with John Lodge’s solo band, taking on many of Justin Hayward’s vocal parts, including a full rendition of Days of Future Passed. This allowed them to present a “rock band” version of The Moody Blues’ music, distinct from Hayward’s more acoustic solo shows. Davison revealed plans for a special tribute to John Lodge later this year, featuring the “10,000 Light Years Band” and incorporating technology to honor Lodge’s presence onstage.
Lodge’s passing while Yes was on tour presented a profound personal challenge. The funeral was postponed until after the tour, allowing Davison to honor the adage, “the show must go on.” Performing became a vital part of his grieving and healing process, a way to celebrate the music that had so deeply connected him and Lodge.
Looking to the future, Yes has just completed their next studio album, mastered and awaiting final artwork from Roger Dean, with a planned July release. While US tour plans are still being formulated, Davison expressed enthusiasm for presenting a fresh set, perhaps even another full-album performance like Going for the One. He continues to be awestruck by Steve Howe’s guitar work, particularly during “Starship Trooper,” noting the soulful depth Howe has cultivated over the years.
Addressing the perennial question of Yes’s continuation after its founding members, Davison confirmed Steve Howe’s blessing for the band to carry on, echoing Rick Wakeman’s sentiment that “there’ll always be a Yes.” The key, Howe insisted, is for the music to remain progressive. Davison is confident they will uphold this ethos. He acknowledged the “small contingent of fans” who believe “No Jon Anderson, no Yes,” but chooses to avoid online criticism. “I’m a Yes fan. I understand Jon Anderson’s an absolute genius. So I just do the best I can to honor him,” he stated. Viewing his role as a calling, Davison channels a spiritual attitude of service to his audience, seeking to bring joy and demonstrate the enduring magic of Yes’s music. Winning over skeptical concertgoers, he said, is the ultimate reward, validating his mission.
Through the profound losses of Taylor Hawkins and John Lodge, Davison has found solace and purpose. “It’s keeping their memory alive through the music,” he reflected on mourning and grief. Honored to have shared a part of their lives and musical careers, he strives to remain creative, focused, and positive, ensuring their spirit lives on through his performances and new compositions. “When I write music and when I perform, I want to feel like they’re looking down, and they’re proud of me. I just want to honor them in the best way I can.”